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This volume reimagines the first-century reception of the Gospel of Mark within a reconstructed (yet hypothetical) performance event. In particular, it considers the disciples' character and characterization through the lens of performance criticism. Questions concerning the characterization of the disciples have been relatively one-sided in New Testament scholarship, in favor of their negative characterization. This project demonstrates why such assumptions need not be necessary when we (re-)consider the oral/aural milieu in which the Gospel of Mark was first composed and received by its earliest audiences.
In Scripting Jesus, Michael White, famed scholar of early Christian history, reveals how the gospel stories of Jesus were never meant to be straightforward historical accounts, but rather were scripted and honed as performance pieces for four different audiences with four different theological agendas. As he did as a featured presenter in two award-winning PBS Frontline documentaries (“From Jesus to Christ” and “Apocalypse!”), White engagingly explains the significance of some lesser-known aspects of The New Testament; in this case, the development of the stories of Jesus—including how the gospel writers differed from one another on facts, points of view, and goals. Readers of Elaine Pagels, Marcus Borg, John Dominic Crossan, and Bart Ehrman will find much to ponder in Scripting Jesus.
A new theory: The Gospel of Mark began as a play performed in Rome 90-95 CE, and produced by Flavia Domitilla, a Roman aristocrat. Author takes a director's point of view to systematically uncover the play beneath Mark's condensed, literary text. Illuminates early Christianity. For scholars in biblical studies or ancient theater.
In Hearing Kyriotic Sonship Michael Whitenton explores first-century audience impressions of Mark’s Jesus in light of ancient rhetoric and modern cognitive science. Commonly understood as neither divine nor Davidic, Mark’s Jesus appears here as the functional equivalent to both Israel’s god and her Davidic king. The dynamics of ancient performance and the implicit rhetoric of the narrative combine to subtly alter listeners’ perspectives of Jesus. Previous approaches have routinely viewed Mark’s Jesus as neither divine nor Davidic largely on the basis of a lack of explicit affirmations. Drawing our attention to the mechanics of inference generation and narrative persuasion, Whitenton shows us that ancient listeners probably inferred much about Mark’s Jesus that is not made explicit in the narrative.
The writings of the prophets make up over a quarter of the Old Testament. But perhaps no other portion of the Old Testament is more misunderstood by readers today. For some, prophecy conjures up knotted enigmas, opaque oracles and terrifying visions of the future. For others it raises expectations of a plotted-out future to be reconstructed from disparate texts. And yet the prophets have imprinted the language of faith and imagination with some of its most sublime visions of the future - nations streaming to Zion, a lion lying with a lamb, and endlessly fruiting trees on the banks of a flowing river. We might view the prophets as stage directors for Israel's unfolding drama of redemption. Drawing inspiration from past acts in that drama and invoking fresh words from its divine author, these prophets speak a language of sinewed poetry, their words and images arresting the ear and detonating in the mind. For when Yahweh roars from Zion and thunders from Jerusalem, the pastures of the shepherds dry up, the crest of Carmel withers, and the prophetic word buffets those selling the needy for a pair of sandals. The Dictionary of the Old Testament: Prophets is the only reference book of its kind. Not only does it focus exclusively on the prophetic books; it also plumbs their imagery of mountains and wilderness, flora and fauna, temple and Zion. It maps and guides us through topics such as covenant and law, exile and deliverance, forgiveness and repentance, and the Day of the Lord. Here the nature of prophecy is searched out in its social, historical, literary and psychological dimensions as well as its synchronic spread of textual links and associations. And the formation of the prophetic books into their canonical collection, including the Book of the Twelve, is explored and weighed for its significance. Then too, contemporary approaches such as canonical criticism, conversation analysis, editorial/redaction criticism, feminist interpretation, literary approaches and rhetorical criticism are summed up and assayed. Even the afterlife of these great texts is explored in articles on the history of interpretation as well as on their impact in the New Testament.
In Jesus and Other Men, Susanna Asikainen explores the masculinities of Jesus and other male characters and the ideal femininities in the Synoptic Gospels.
Academic theology is in need of a new genre. In "Transgressive Devotion" Natalie Wigg-Stevenson articulates a theological vision of that genre as performance art. She argues that theology done as performance art stops trying to describe who God is, and starts trying to make God appear. Recognising that the act of studying theology or practicing ministry is always a performance, where the boundaries between what we see, feel, experience and learn are not just blurred but potentially invisible, Wigg-Stevenson brings together ethnographic theological fieldwork, historical and contemporary Christian theological traditions, and performance artworks themselves. A daring vision of theology which will energise anybody feeling ‘boxed in’ by the discipline, Transgressive Devotion blurs borders between orthodoxy, heterodoxy and heresy to reveal how the very act of doing theology makes God and humanity vulnerable to each other. This is theology which is a liturgy of Divine incantation. In other words: this is theology which is also prayer.
Recognized as an innovative interpreter of the Gospel of John, for decades Francis J. Moloney has approached the sacred literature in a way that attends both to the details of the text and to the several contexts that gave life to the original story. This “text and context” approach continues to enrich the reading and interpretation of the Gospel in today’s world. Gospel of John: Text and Context gathers Francis Moloney’s key studies on John’s Gospel written over the course of his career. The three sections of the work comprise studies of Johannine history, theology, and research; exegetical studies ranging across all parts of the Johannine narrative; and an exploration of how the Fourth Gospel came to be understood as sacred Scripture.
William Wrede was among the first to recognise the creative contribution of the Gospel writers. His work thus laid the foundation for the work of the Form Critics, Redaction Critics and Literary Critics whose scholarship dominated New Testament studies during the twentieth century. This highly influential work was throughout this period the departure point for all studies in the Gospel of Mark and in the literary methods of the evangelists. It remains highly relevant for its ground-breaking approach to the classically complicated question of whether Jesus saw himself and represented himself as the Messiah.